THE MUSIC HALL ERA

Otago Daily Times, Issue 22296, 23 June 1934, Page 4

THE MUSIC HALL ERA

VESTA TILLEY’S REMINISCENCES “ Recollections of Vesta Tilley." ; By Lady de Frece. Foreword by Sir Oswald Stoll: Appreciation by Sir Alfred Butt, Bart., M.P. Illustrated. London: Hutchinson. (£1 7s net.) Vesta Tilley’s “ Recollections ” take her far back into#he past of the music hall, to its early and humble beginnings, and then through its Hey-day in the years long preceding the war, when she was one of the idols of London and the Provinces. Her name and reputation are better known in this part of the world than the personality —or personalities —she so successfully “put over” in her career as a masculine impersonator, and therefore the interest of her reminiscences will be somewhat limited for the New Zealander by his lack of visual acquaintance with her art. That Vesta Tilley had an “ art,” not merely a talent, in her particular sphere, is attested on the best authority—that of all classes from the queens and kings before whom she appeared by command, to the populace which acclaimed her from the smoky pit of a hundred music halls. But the photographs in this book do convey something of the impishness and irresistibility of her characterisations, and of that pathos which, we are told, was never entirely absent from her work. Some of her songs will be recalled by an older generation. She gives the.choruses of a few of them. For instance; — May Queen Victoria reign, May she with us long remain, Till Ballet Girls’ clothes reach down to their toes, May good Queen Victoria reign. From the sad sea waves, back to business in the morning, From the sad sea waves, to his fifteen bob a week, Into the cook shop he goes dashing; Who should bring his plate of hash in? But the girl he had been mashing. By the sad sea waves. Vesta Tilley’s public career began early, when as “the Great Little Tilley” she followed her father and a puppy called “ Fathead ” in “ turns ” at concerts in the Nottingham Music Hall. Her father,, on occasions when she sang songs of a political character, would sit out in front and hiss loudly all references to the Liberals, in order to create interest in the number, and on one occasion the juvenile performer found an unwanted champion whp threw the well-meaning parent on to" the street for his interruptions. Many pages of the book are devoted to casual references to famous people whom the author met, either in the course of her work or socially as Lady de Frece. The names of those who did not disdain to make music hall appearances are _ representative of many grades of theatrical art, and include Pavlova and the Bernhardt. _ An attempt was made to persuade Irving to appear on a variety bill, but he indignantly repudiated the suggestion. The problems connected with retaining a feminine identity off the stage, and a masculine one on the boards, are the subject of some amusing recollections. Queen Alexandra was sufficiently intrigued with this aspect of Vesta Tilley’s personal preoccupations os to send an inquiry whether she wore a wig. Few theatrical ladies were gifted in Hie art of male impersonation. Lilian Russell, the author says, was called on to play a male pa t rt in a New York revue,, and waited in the wings for her entrance in a gentleman’s full evening dress, entirely covered with a silk wrap. The audience recognised her discomfiture when she made her appearance before the footlights:—‘ When Pete_ Daly, the acknowledged wit and practical joker of the company, walked on and said to her: “Beg pardon, Sir, but Miss Russell lias sent me to say that yon have taken her corsets by mistake.” she could stnud it no longer, and rushed off, the stage shrieking with laughter. Her next entrance was in a lovely evening costume, and she prefaced her number with the remark: “What a relief!”

“ Recollections of Vesta Tilley is a book which, while possessing little literary

merit and a certain discursiveness, contains sufficient pleasant stories and general “ atmosphere ” to make it acceptable as a contribution to a lively aspect of stage history. The personality of the author is revealed always as charming and alive. A. L. P.